A Quote by Thom Mayne
I don't know any architects that I respect who don't have their own voice. I think the difference between architecture and the other arts is your immersion in reality.
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Mothers know the difference between a broth and a consommé. And the difference between damask and chintz. And the difference between vinyl and Naugahyde. And the difference between a house and a home. And the difference between a romantic and a stalker. And the difference between a rock and a hard place.
I think of architecture as language, and I look within the intra-communication between architects.
Before you can read, you know the difference between a story and reality. And, of course, by the time you're old enough to do any real damage with an Uzi, you've learned that difference.
What, concretely, is Enlightenment ?" "Seeing Reality as it is," said the Master. "Doesn't everyone see Reality as it is?" "Oh, no! Most people see it as they think it is." "What's the difference?" "The difference between thinking you are drowning in a stormy sea and knowing you cannot drown because there isn't any water in sight for miles around.
The best thing about dreams is that fleeting moment, when you are between asleep and awake, when you don't know the difference between reality and fantasy, when for just that one moment you feel with your entire soul that the dream is reality, and it really happened.
I think each of my books attempts to create its own voice so I'm not even sure I have a signature style, other than certain descriptive tendencies, an interest in the sound of language. Maybe an immersion in place.
If I have one message to give to the secular American people, it's that the world is not divided into countries. The world is not divided between East and West. You are American, I am Iranian, we don't know each other, but we talk together and we understand each other perfectly. The difference between you and your government is much bigger than the difference between you and me. And the difference between me and my government is much bigger than the difference between me and you. And our governments are very much the same.
In order for architecture to experience its ongoing evolution as a language, there has to be a lot of adjusted copies between how architects draw, think, engage bylaws and constraints.
The real voice is stiller and smaller and seems to know, without confusion, the difference between right and wrong and the subtle delineation between the beautiful and profane. It's not an agitated voice, but ever patient as though it approves a million false starts. The voice I am talking about is a deep water of calming wisdom.
I don't see any difference between architecture and engineering. It's the same profession.
The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.
The difference between America and England is that the English think 100 miles is a long distance and the Americans think 100 years is a long time. The difference between an autobiography and an unauthorized biography is like the difference between an account of your life written by your mother and one written by your mother-in-law.
The difference between deafness and any other disability is that there is no way to put yourself in a position of knowing what it would be like because you can't stop yourself from hearing your own breath or your own heartbeat. You can not remove sound entirely from your life. You can get a sense of what being blind is like by closing and covering your eyes which provides a source of empathy because we can all project ourselves to that. But people who think they can project themselves into deafness are mistaken because you can't.
I do not mean to mock or ridicule your life's work, for in one way at least it mimics my own: We have dedicated our lives to the pursuit of phantoms. The difference is the nature of those phantoms. Mine exist between other men's ears; yours live solely between your own.
When you make the film, there's a big difference between when you're in your own home at the typewriter, and when you're standing on a mountain, or on a street corner, and buses are coming by-it's a different reality. You make a million changes that were never in the script, but that reality dictates.
If you can create a reality that is entirely fictitious, it doesn't owe anything to this stuff out here, but you interact with it on your own terms. I mean, if you took it to the point where finally you get, say, tactile feedback, so you were wired in in terms of the whole nervous system. The sensorium. You would have the ultimate art form. I mean, any painter would want it, any filmmaker would want access to it you know, any musician would want access to it. It would eliminate the need for the divisions between what we describe as the arts, converting the whole thing to experience.
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